Criterion’s transfer maximizes the beauty of Lemmons’s bold, haunting feature debut.
Rodrigo García’s film is fastidious, tidy, and lifeless, with every obligatory gesture in its place.
The film upends the clichés that practically define the ghost story in surprising and intriguing ways.
Blue Bayou is a timely but tediously overwrought drama about a nakedly racist part of America’s immigration crisis.
Portraying Tubman above all else as a vessel for a higher power ironically only makes her appear less tangible.
Daredevil’s fight scenes are infused with the struggle of the poor and lower-middle class, and choreographed with thrilling uncertainty.
The material, convoluted even by Shakespeare’s narratively dexterous standards, is admittedly a tough nut for a filmmaker to crack.
For anyone who prefers their assertive homilies to crust over like a syrupy sweet, this loose adaptation of Langston Hughes’s beloved holiday tradition will come on like a dream fulfilled.
Nicolas Cage’s performance is some kind of tour de force.
It shares with the Abel Ferrara film a bottomless compassion for its crazies.
Honeydripper is more hopeful than Sunshine State but possibly more naïve.
Talk to Me more or less admits that its aim is to deliver not a warts-and-all life story but a lionizing memorial.
Vondie Curtis-Hall’s urban action-adventure is far too ridiculous to be taken seriously as either rousing melodrama or politically-minded rallying cry.
The DVD incarnation of the campy Glitter deserves much more than what’s offered here.
So bad it’s good, Glitter springs eternal.